Latest news with #Tasmania
ABC News
9 hours ago
- ABC News
Metro drivers told to hide money when within Glenorchy bus mall
Tasmania's government-owned bus company has instructed drivers to hide their coin trays when within a major bus mall in Hobart after a series of thefts. Police this week laid charges as a result of investigations into multiple incidents. Police allege two youths stole coins from the money trays of Metro buses on multiple occasions. They also allege after getting off the bus, the youths removed an emergency hammer and damaged a bus window. No one was injured during the incidents. A 13-year-old from Risdon Vale and a 14-year-old from Lutana have been charged over several incidents. In a safety alert issued to Hobart drivers on Wednesday seen by the ABC, Metro addressed "ongoing incidents in the Glenorchy bus mall", instructing drivers between 4-8pm to "pull over at a stop prior to entering the mall" and "remove their cash trays and store them out of sight" while within the mall. The notice also said fares including cash or GreenCards should not be collected while in the bus mall during the given times, and fares could be reversed if customers tap on by mistake. The notice is valid until Sunday. In a statement, Metro Tasmania said it took a risk-based approach when deciding to implement safety controls. "Metro believes that this temporary safety measure is appropriate given the recent incidents in the Glenorchy mall." Rail Tram and Bus Union (RTBU) state secretary Byron Cubit said not enough was being done to improve driver safety. In 2023, the Rockliff government started a pilot program to introduce transit officers on buses, but Mr Cubit said they were never delivered permanently. Mr Cubit said the government's planned implementation of transit officers needed improvement. "When the Liberal government committed to transit officers, they would be privately employed and they would not have that power to detain. The union is also worried about a half-price fare scheme which is soon to come to an end. "If adult fares double on July 1st, the bus drivers are going to cop the brunt of frustration from passengers," Mr Cubit said. Transport Minister Eric Abetz said the RTBU was "central to the security screen trials, being heavily involved in consultation, and is aware that they are being rolled out as quickly as possible". "Screens are being installed as we speak, and have already protected drivers on the job," Mr Abetz said. In May, Tasmania Police unveiled Taskforce Respect, a community campaign involving high-visibility patrols in Glenorchy and surrounds. The task force was established in the wake of a string of incidents involving large groups of youths causing disturbances in the area. Glenorchy Police Inspector Jason Klug said businesses had reported a significant drop in anti-social behaviour while the task force has been active. "Whilst at the moment, its focus is on anti-social behaviour and retail crime, the task force is there and able to adapt to any crime trends or any community concerns that we see.
SBS Australia
11 hours ago
- Entertainment
- SBS Australia
"Tenderness and tension": Producer Catherine Pettman on the fragile beauty of 'Moonbird'
Sonny (Lennox Monaghan) holding a baby muttonbird. Credit: Jillian Mundy Filmed entirely on location on tayaritja, lutruwita (Great/Big Dog Island, Tasmania), new 6-part SBS and NITV Digital Originals series Moonbird explores the relationship between a recently sober father (Kyle Morrison; in his first leading role) and his son (Lennox Monaghan; Deadloch , Windcatcher ) who attempt to reconnect through a traditional muttonbirding season on a remote Tasmanian island. Produced by Catherine Pettman (who worked as a production manager on another SBS original, The Tailings ) and written by Adam Thompson (who has written several episodes of Logie Award-winning children's animation Little J & Big Cuz ) and Nathan Maynard (who wrote episodes of Deadloch and Stuff the British Stole ), Moonbird is a beautiful glimpse into the traditions of the Palawa people. "As writers and storytellers we wanted to share some of this special place with the world. To share the unique landscape, culture and way of life," said writer and Palawa man Adam Thompson in a statement. Coloured by gorgeous landscapes, the short drama series observes the importance of tradition to First Nations peoples, while also revealing the dark truths of how the breakdown of culture can have disastrous effects. In an interview with SBS, Catherine Pettman discusses the myriad wonders that came with working on Moonbird , from crafting the short series alongside female filmmakers to shooting on the fragile yet mesmerising land of the Palawa people: tayaritja. Moonbird offers a unique glimpse into the unique world of muttonbirding. What did it mean for you to create something that allows viewers to look into this tradition and were there any challenges that came about during production? I feel deeply honoured to be part of bringing this story to life — inviting audiences into the rarely seen world of muttonbirding, a tradition woven through place, family and survival. Big Dog Island, just south of Flinders Island in Bass Strait, is separated by a shifting tidal passage making access unpredictable and weather dependent. With near zero infrastructure on the island, we were challenged by a constant shuffle between barges and boats to get everything we needed on and off the island daily. Given the remoteness it was a tough shoot, but the team rose to the challenge spectacularly. While the island in Moonbird is fictional, the shooting location, Big Dog Island, is very much real, beautiful and has a deep history entrenched in the soil. What was it like creating Moonbird amongst such important lands? Big Dog Island is extraordinary — wild, remote, and teeming with life, with hundreds of thousands of burrows covering the island, sheltering the next generation of birds. From the beginning, we knew that protecting this fragile habitat was paramount. Every step of filming was approached with care and respect — not just for the environment, but for the Palawa people and their traditions at the heart of the story. We took great care to protect the fragile habitat, ensuring every step was respectful to the land, the birds and the story we were telling. Moonbird explores the need to reconcile the past through truth-telling, through the effort to heal fractured relationships, even as we acknowledge how hard that is within systems that continue to apply pressure. What is your most cherished memory or moment from the creation of Moonbird ? One of my most treasured memories from the film shoot was being awoken before dawn to the wild calls of the yula/muttonbird outside my tent—a haunting, beautiful sound, a clear signal to me I was a guest in a place few people ever get to experience. The island's raw, untouched beauty was unforgettable; its energy made us all feel like we were part of something deeply special. My most cherished moment, though, came on our final night. After a feast of wild island food, we gathered to reflect on the privilege of being welcomed into Adam (Thompson) and Nathan (Maynard)'s world. We'd all learned so much—not just about the land, but about resilience, heritage and care. I was especially grateful to our young actor, Lennox Monaghan, whose powerful, authentic performance as Sonny anchored the story. It was an emotional night—of joy and a little sorrow that it was ending. The island had moved us. It gave us something we'll carry forever. While there is certainly a lot of light in Moonbird , there is also darkness, especially around how the breakdown of culture can affect Indigenous peoples. Could you talk about exploring this duality in Moonbird ? Moonbird holds a deep emotional complexity. I feel in creating the story, Adam and Nathan skillfully navigated the duality of tenderness and tension—those intimate, warm moments between a father and son working to mend their bond, contrasted with the painful reality of disconnection: from family, from culture, from self. While there is a lot of light in the story, there's also a necessary darkness. The breakdown of culture—its theft, suppression and slow erosion—has left lasting wounds. Moonbird explores the need to reconcile the past through truth-telling, through the effort to heal fractured relationships, even as we acknowledge how hard that is within systems that continue to apply pressure. The island becomes a metaphor for this struggle—a place of breathtaking beauty, yet always at risk. I feel a deep sense of gratitude for my life here in lutruwita/Tasmania — it's an extraordinary place, and with that comes a responsibility to support stories that speak truthfully to its history. You've noted a strong female contingent working on Moonbird behind the scenes. Could you speak on how that experience felt for you and the positive impacts this had on the creation of Moonbird ? We had around 40% female crew on Moonbird and the impact of that was incredibly positive. I'm always mindful of creating opportunities for women across all departments and on this project, that balance really enriched the experience. Living and working so closely together on location, there was a strong sense of support, shared knowledge and mentorship. The diversity within the crew encouraged dynamic decision-making and genuine collaboration. It fostered a community of like-minded souls, where stories and skills were exchanged freely. Having such experienced, capable women on set—many of them role models—was a clear reminder that parity not only works, it elevates the entire production. You have worked on multiple short films and full-length films which tackle important topics and sometimes topics that do not get spoken on enough. How did this history inform your approach to telling the important stories of the Palawa people? I feel a deep sense of gratitude for my life here in lutruwita/Tasmania — it's an extraordinary place and with that comes a responsibility to support stories that speak truthfully to its history. Over the years, I've worked on projects that seek to give voice to stories not often heard and that experience has shaped how I approach work like Moonbird . As a non-Aboriginal woman, I've learned a great deal from the Palawa community and I carry a deep respect for the knowledge and generosity so many have shared with me. With Moonbird , my focus was on supporting Adam and Nathan to bring a powerful dramatic story to television — one that's rooted in their lived experiences and cultural strength. My role was to back their vision; it was a privilege to learn from them and help bring their story into the world. SBS and NITV Digital Originals series Moonbird is now streaming on SBS On Demand. Share this with family and friends SBS's award winning companion podcast. Join host Yumi Stynes for Seen, a new SBS podcast about cultural creatives who have risen to excellence despite a role-model vacuum.
SBS Australia
11 hours ago
- Entertainment
- SBS Australia
"One day I'd like to be a wild woman"
A Girl's Guide to Hunting, Fishing and Wild Cooking When world-renowned chef, Analiese Gregory gave up the restaurant business around five years ago, she started on a path of personal discovery that eventually silenced the mental noise of self-doubt. 'Before I moved to Tasmania, I was always so nervous,' Gregory tells SBS. 'I used to ask myself 'can I actually cook?' I wondered about my cooking skills constantly. I had big impostor syndrome.' This was despite the fact that Gregory was – and still is – one of the most celebrated chefs of her generation . She fine-tuned her cheffing skills under the mentorship of Peter Gilmore at his acclaimed restaurant, Quay and later worked at the Michelin star restaurant Le Meurice in Paris. Her personal journey is faithfully documented in the SBS series A Girl's Guide to Hunting, Fishing and Wild Cooking and in season two , it's apparent that Gregory has settled into a much wilder existence. And she is also ready to come full circle as she works towards opening an eatery, run out of a renovated shed on her property. The 'anti-restaurant', which is due to open some time in August 2025, does not focus on serving fine dining dishes, nor will it focus on increasing covers. Instead, the plan is to host 10 diners at a time. Guests will eat seasonal food that Gregory has grown, hunted and foraged. The menu will work with nature and hero ingredients that celebrate the chef's connection to her local environment. In Tasmania, the chef feels she's returned to a truer version of herself and rediscovered her connection to food, the land and sea. 'There's been a real joy in living here and doing what I am doing,' she says. 'As a child I was always out in the fields. Then, I got older and hated camping. For so long in my adult years, I didn't own a flat pair of shoes (apart from my kitchen clogs). I only wanted to wear dresses and high heels, and be in big cities visiting art galleries. I was very much the city girl. 'When I lived in Sydney, before I moved to Tasmania, I didn't even cook at home. I worked six days a week and, most nights, I'd eat a staff meal before service and snacks after service. On my night off, I'd go out to eat. I think I only ever cooked at home once every six months.' Eventually, Gregory heard the call of nature summoning her to live a more sustainable life. So five years ago, she bought a cottage in need of renovation in Tasmania's Huon Valley , 40 minutes drive from Hobart, and chased her food goals. 'I used to dream of having an old wooden farmhouse and a kitchen that was filled with bowls of homegrown produce. I really tried hard to make my house in Tasmania be just like my dream. It's now all paid off.' 'When you live in any big city, all kinds of food are available at any given time of year. But in Tasmania, you have to eat and live with the seasons properly. You can fight against it but it's much easier to give into it. I've come around to accepting these sorts of things.' Now, Gregory eats regularly at home and feasts on foods that she's passionate about because she's grown, sourced or made them herself. In her kitchen there are fruits and vegetables from her garden, homemade pickles and other condiments, honey from her bees, cheese that she personally crafted and prosciutto that she cures herself. She also eats sea urchins, fish and abalone that she sources locally herself, often forages for native greens and has also raised chickens, goats, pigs and sheep, as well as grown herbs in her farm. And, she courageously takes on hunting – even if it feels confronting – and fishing in the wild, including underwater spearfishing, in a bid to stay true to her values. 'I feel as though I've come full circle. I feel more fulfilled. Nature has definitely been healing.' The impostor syndrome is also gone. 'This period in my life has been a time of upskilling. Now I'm like: 'oh okay. I can do this'.' Gregory now aims to continue strengthening her connection to nature. To do that, she seeks inspiration from Indigenous females across the globe who have traditionally fulfilled the hunter-gatherer role. 'One day, I would like to be 'a wild woman'. To me, being 'wild' means being able to live within nature but not necessarily harm it. You have to be comfortable being with yourself in nature, with your own thoughts. There's also a certain amount of self-reflection that has to happen for you to be able to do that. That's what I think of as being 'wild'. 'I don't know if I fully achieved it yet, but I feel like that is something I want to work towards.' Season 2 of A Girl's Guide to Hunting, Fishing and Wild Cooking premieres on Monday 23 June, 2025 at 7.30pm on SBS On Demand and SBS Food. Watch now Share this with family and friends
Travel Weekly
12 hours ago
- Business
- Travel Weekly
Intrepid Travel acquires hotels in Tasmania and Morocco
Intrepid Travel has acquired boutique properties in Tasmania and Marrakech. The family-run Edge of the Bay, located near the town of Coals Bay in Tasmania, is a 20-room coastal resort that overlooks Wineglass Bay. The property is on 18 acres and close to Freycinet National Park. The hotel offers oceanview studios and secluded chalets. The resort will be refreshed to align with Intrepid's "impact-led ethos," the company said in its announcement. The revamp will include nature-based activities and environmental education programs developed with Greening Australia, an Intrepid Foundation partner and environmental organization founded to restore and conserve Australia's native vegetation. Intrepid also plans to work with the Palawa people, the indigenous inhabitants of the land, to conduct a cultural heritage assessment of the property. Intrepid also bought a 17-room riad in Marrakech, minutes from Medina, the city's old town. The traditional Moroccan guesthouse opened this month and offers culinary experiences with The Amal Association, a nonprofit that trains women in hospitality. Intrepid will fully operate the property beginning in July. "Our approach to accommodation is underpinned by a commitment to preserving culture, fostering connection, supporting communities and boosting travel's economic contribution with the local community," said Intrepid CEO James Thornton. The 20-room Edge of the Bay resort near Coals Bay in Tasmania. Photo Credit: Intrepid Travel Intrepid said last year that it was accelerating its expansion into hotels. It aims to acquire 20 properties by 2027. The brand hopes to acquire properties in Asia, Africa and the Americas, adding to its previous acquisition of Daintree Ecolodge in Australia and its multiyear lease of a Vietnam hotel. Since acquiring Daintree Ecolodge in Queensland, Australia, Intrepid said it has introduced solar power, advanced wastewater treatment, composting and vegetable gardens while eliminating single-use plastics. The lodge is certified as a B Corp, which means it has met high standards of social and environmental performance.
ABC News
14 hours ago
- ABC News
Multiple 'imitation' firearms found in George Town home by Tasmania police
A 40-year-old George Town man has been charged with multiple offences after illegal firearms, including a replica gun collection, were found during a property search in Tasmania's north. Police said they attended a George Town home on Wednesday while investigating an earlier driving offence in the area. They said officers observed "items of interest" through the window of the property, and "subsequently executed a search warrant", which resulted in 16 firearms being located. One single-barrel shotgun was found along with 15 "imitation" guns. The replicas included flintlock pistols, assault rifles, semiautomatic sniper rifles and a submachine gun. Police said the full list of items seized were: According to the Tasmania Police website, an imitation firearm is defined as an article of any material or colour that is a copy or reproduction of a firearm, or has the appearance of, and could reasonably be mistaken for, a firearm. A gun licence is required to possess an imitation firearm (other than a toy), and it must be in the appropriate category for the style of firearm. Tasmania Police said the George Town man was arrested and was subsequently charged with multiple offences, including possess a firearm to which a firearms licence may not be issued, and drug and driving-related offences. He will appear in court at a later date.
